Keyboard queens

Music

by Gregg Shapiro

With her 1996 major-label debut Tidal
, Fiona Apple grabbed the spotlight away from
reigning piano princess Tori Amos, slammed it to the ground, stomped on it,
shook it and turned it into a kaleidoscope. Even though she has gone on to
release only three more studio discs in the 16 years since, including her new
one The Idler Wheel Is Wiser Than the Driver of the Screw and
Whipping Cords Will Serve You More Than Ropes Will Ever Do
(Clean Slate/Epic), the world of the piano/vocal
singer/songwriter has never been the same.

The seven years between Extraordinary Machine
and The Idler Wheel
is Apple's longest stretch, although not her longest
title. That honor belongs to 1999's acclaimed When the Pawn Hits the
Conflicts He Thinks Like a King What He Knows Throws the Blows When He Goes to
the Fight and He'll Win the Whole Thing Fore He Enters the Ring There's No Body
to Batter When Your Mind Is Your Might So When You Go Solo, You Hold Your Own
Hand and Remember That Depth Is the Greatest of Heights and If You Know Where
You Stand, Then You Know Where to Land and If You Fall It Won't Matter, Cuz You'll
Know That You're Right.

If Apple sounded wise beyond her 19 (or so) years on Tidal
, then imagine what a few more years have done not
only to her distinctive voice, but also to her already considerable songwriting
skills. On opener "Every Single Night," she tinkles and twinkles and
chants, while she alternates between recitation and wail on the revved up "Daredevil."
The dark and moody "Valentine" is unexpectedly catchy. The dusty
waltz of "Jonathan" finds Apple using her "little fist" to
tug on his "forest-chest," and Left Alone
rolls out an irresistible boogie-woogie. There's
nothing regrettable about either "Regret" or "Anything We Want,"
both of which make fascinating use of percussion. But it's the album closer,
the steamy "Hot Knife," with its sharp wordplay and unique
production, that makes this platter sizzle.

By the time the more prolific Regina Spektor arrived with her
2004 major-label debut Soviet Kitsch,
Tori Amos's once-vivid star had begun to dim, and Fiona Apple had become the
official touchstone for piano-based female singer/songwriters. But as different
as Apple was from Amos, that's how dissimilar Spektor was from Apple. Take "Sailor
Song," on which Spektor can be heard singing "Mary Anne's a bitch"
over and over, as an example. But it was on 2006's Begin to Hope
, her most accessible and pleasing recording, that
Spektor became a full-fledged star.

What We Saw from the Cheap Seats
(Sire) comes closest to capturing the same energy,
although it falls short from achieving the same masterpiece status. The
luminous "Small Town Moon" sets the radiant tone. But you have to get
through "Oh Marcello" and "Don't Leave Me," both of which quote
liberally from pop music history, before you get to the exquisite tearjerkers "Firewood"
and "How." Both songs reveal a refreshing level of maturity in
Spektor's considerable talents.

The exhilarating "All the Rowboats," which
deserves to be a hit single, is a perfect example of Spektor's unusual
perspective. That unique viewpoint is also on display in "Ballad of a
Politician." The aptly named "Open" takes an unusual turn in the
middle, incorporating vocal tricks that would make Yoko Ono proud, while closing
track "Jessica" features producer Mike Elizondo on acoustic guitar,
illuminating another aspect of Spektor's versatility.

Produced by Mark Ronson, Rufus Wainwright's soulful Out
of the Game (Decca) is a far cry from his
soul-baring and mournful All Days are Night: Songs for Lulu
. Easily Wainwright's most potentially and
consistently commercial album since 2001's Poses
or Release the Stars
, Out of the Game
finds the gay singer/songwriter at the very top of his
game. Wainwright's sense of humor is on exhibit throughout, beginning with the
title track, on which he makes witty observations about the behavior of gay men
younger than his own 39 years. Name-dropper "Rashida" effortlessly
updates vintage soul, Rufus-style, complete with wailing-diva backing vocals.
The retro R&B vibe continues on the sexy "Barbara" as well as the
swirling "Bitter Tears," and the full-on funk of "Perfect
Man" deserves to be remixed for club play.

To Ronson's credit, Wainwright doesn't get lost in the
shuffle. On the contrary, he is very definitely the central focus all the way
through the disc. Playing less piano and more guitar than usual, the Rufus we
have all come to know and love can be heard loud and clear on "Welcome to
the Ball," "Respectable Dive," "Sometimes You Need"
and the amazing and utterly gay "Montauk."